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The 4,300-capacity Grand Ole Opry crowd gave Mexican singer-songwriter Carin León a superstar’s welcome as he made his debut at the Nashville venue on Friday night (Feb. 23).
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León had one of Billboard’s top 10 Highest-Grossing Latin Tours of 2023 with his Colmillo de Leche Tour, which played Los Angeles’ Crypto.com Arena and Houston’s Toyota Center, among other venues. He was one Billboard’s Top Latin Artists on the 2023 year-end chart (based on song and album performance, as well as touring). Last year, Leon notched some of his biggest Billboard Hot Latin Songs chart hits, including “Primera Cita,” and the Grupo Frontera collaboration “Que Vuelvas.” León and Maluma joined forces for “Según Quien,” which topped both Billboard’s Latin Airplay chart and Regional Mexican Airplay chart in December. This past year, he won a Latin Grammy for best Norteño album (Colmillo de Leche)
Screams of adulation and a sea of cell phone lights greeted the León as he took the stage before a crowd that was on their feet and singing along with every (primarily Spanish) lyric he sang. Leon played his 2022 hit “No Es Por Aca,” followed with a solo version of “The One (Pero No Como Yo),” his duet with Kane Brown, which the pair debuted earlier in the week at the 2024 Premio Lo Nuestro. He closed with “Primera Cita,” a song which marked a milestone moment of experimentation for León, who blended Mexican and the soulful sounds of Memphis and New Orleans.
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At one point, as León stood on the Opry’s famed circle of wood, part of the Opry stage that had originally been in the floor of the Opry’s previous location at the Ryman Auditorium, he knelt down and placed a kiss on the floor.
“This moment is a dream come true,” he said later from the stage. “This moment is important for my music, for my country. Having all the family here and having country music accepting us, for us to be here, this place is magical. I hope to come back here a thousand times more. Thank you so much for this moment.”
He exited the stage, but only momentarily — as the screams and chants of the crowd quickly demanded that he return to the stage for another song. León obliged with an encore, and in the process, became one of the rare artists making their debut Opry performance to make an encore performance — joining a lineage of artists whose debut Opry performances included encores, including Josh Turner’s 2001 Opry debut, the 2016 Opry debut of rock legend John Fogerty (who had joined Brad Paisley on the Opry stage), and of course, Hank Williams, Sr.’s 1949 debut, when he was brought back onstage for six encores.
Just offstage, his “The One” collaborator Brown and singer-songwriter Leon Bridges stood among a throng of other supporters witnessing León’s Opry debut.
Earlier in the evening, seated backstage in the Little Jimmy Dickens-themed dressing room 3 at the Grand Ole Opry, León was filled with gratitude — and maybe a slight bit of nervousness — as he spoke of achieving his dream of playing on the Grand Ole Opry.
“Being here at the Grand Ole Opry, for every artist, it’s more than realizing a dream,” he told Billboard. “For me as a Mexican, for me coming from another genre, they are living the dream. We never realized that we would be here, even as an audience member, but now being here playing, it makes me so proud.
“I was walking around earlier, looking at the photos and the [artist] quotes that are on the walls. I cried four times reading what they said, because they felt like I do. It made me feel so humble and reminded me why I started doing music. This place is magical for every musician. The history, it’s a love letter to music and you feel like you’ve entered a sacred place.”
Since releasing a slate of live albums in 2018, followed by his full-length debut, El Malo, in 2019, León’s music has increasingly enveloped an array of sounds, among them folk, flamenco and country. He previously covered songs by Johnny Cash and Chris Stapleton and teamed with Walker Hayes for an Amazon Music collaboration.
Of his new collaboration with Brown, León says, “One of the first names in country music to collaborate with that somebody put on the table was Kane Brown. It was 2018 or so when I started hearing his music. He’s like the link for our genre and country music to happen. I met him and his team, and he’s such a humble person and good guy and one of my friends in this game that is music. I’m very happy that he believed in our music and it is the perfect time for this to happen.”
On April 26, León will make his debut performance at country music festival Stagecoach, performing on a bill that also includes Eric Church and Jelly Roll. He will be the first Spanish-language act to perform at both Stagecoach and Coachella.
“It’s unbelievable for me,” he says of those upcoming performances. “I’m kind of nervous about that show because it’s a different audience, but we’re going to enjoy it so much and I’ll get to see some of my idols, too. It’s a place where I’m going to celebrate what’s happening with our music and this musical revival. You can see less limits on every music. People are hungry for good music and artists don’t want to fit in a box. If you have a great song, you can upload it with just a guitar and video and you cannot deny what’s good.”
León, as well as his fellow artists including Bad Bunny, Maluma, Karol G and Grupo Frontera, are leading Latin music’s current global success. Latin and country were two of the genres with the most percentage gains in 2023, according to Luminate’s 2023 Year-End report, with Latin up 21.9% to 75.26 million units in 2023 and country rising 21.8% to 92.19 million units in 2023.
The crux of León’s country music-focused moments — the Opry debut, Stagecoach, the collaboration with Brown — is León’s in-the-works, full-fledged country album.
“This is one of my wishes of my life, to do this project,” he says. “I think this is the correct time to do it, and we are working on it. We are on the song selection process, but there are a lot of names we’re looking at.”
Similar themes are woven through the lyrics of both Regional Mexican and country — tales of love, family, and cowboy/vaquero culture. Leon’s upcoming country project could prove a key moment in further uniting the two genres. Historically, country has seen occasional moments of Latin artists finding successes on the country charts, with Johnny Rodriguez and Freddy Fender both earning No. 1 country hits in the 1970s, while in the 1990s, Tejano music star Emilio Navaira, band The Mavericks and Rick Trevino saw country radio successes.
More recently, artists including Frank Ray, Leah Turner, Valerie Ponzio and Veronique Medrano are making their own fusions of Latin and country sounds. Additionally, León’s collaboration with Brown extends a lineage of Latin artists collaborating with country artists, from Julio Iglesias and Willie Nelson earning a Country Music Association Award for collaborating and earning a country hit with “To All the Girls I Loved Before” (they would later also record “Spanish Eyes” in 1989). David Bisbal, Enrique Iglesias and Becky G are among other Latin artists who have collaborated with country artists in recent years.
“Everybody wants to be a cowboy right now, everybody wants to do country right now,” León says. “People are doing rap they are getting rap touched by Mexican music or touched by country music. They are wearing the hats, the boots. Louis Vuitton’s last collection, it’s all cowboy stuff. We as Americans, as Mexicans, we want to feel proud of what we are for. We don’t want to emulate what everybody’s doing — these are our roots. Our hat is what we are, our boots are what we are. I’m very happy that people are looking to our culture in such a big way that is happening right now.”
As one of the most influential and outspoken voices in Latin music, Residente has consistently pushed the boundaries of Spanish-language rap. Whether exploring the depths of human emotion and societal issues through his art, or pissing off mainstream reggaetoneros via hard-hitting tiraderas, there’s no denying that one can’t turn a deaf ear to the artist born René Pérez Joglar.
With his second full-length solo album, Las Letras Ya No Importan (or Words No Longer Matter) — released via 5020 Records, following his 2017 eponymous debut — Residente‘s evolution from a genre-bending rapper to a multifaceted artist and cultural commentator is unmistakable. This latest work, released Friday (Feb. 23), embarks on an exploratory journey through sound, emotion and critical opinions, featuring a diverse roster of collaborations that span genres and geographies, from SFDK in Spain to Christian Nodal in Mexico and Amal Murkus in Gaza.
Among the standout tracks, “313” emerges as a deeply personal ode to the passage of time and the preciousness of life, inspired by a friend’s passing and Residente’s own reflections on growing older. “Time is becoming more and more relevant in my life,” he tells Billboard Español.
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“Bajo Los Escombros” offers a poignant look at the Palestinian struggle, crafted amidst the backdrop of conflict with contributions from musicians in Gaza and the voice of Murkus. “Jerga Platanera” dives into the linguistic intricacies of Puerto Rican and Dominican slang, while “El malestar en la cultura” and “Artificial Inteligente,” contemplate the evolution of rap and the intersection of humanity with technology, respectively. This album not only underscores Residente’s commitment to musical and thematic experimentation but also highlights his role as a visionary in the ever-evolving landscape of the música urbana genre and beyond.
During our interview at his home in Lower Manhattan, Residente’s living space mirrors the diversity and depth of his music. Surrounded by an eclectic collection of books — ranging from Apocalypse Now to José Parla’s Segmented Realities, and The Wes Anderson Collection — and art adorning the walls, his environment is a testament to his wide-ranging influences. The skylight and balcony overlooking the Hudson River offer a glimpse into the serene backdrop of his creative process, while his dozens of Grammy and Latin Grammys on display serve as a testament to his enduring impact on the music industry.
Dressed casually in baby blue corduroys, a matching t-shirt, and a baseball cap, accented with a chain and silver whistle, Residente’s demeanor is as relaxed and approachable as it was thoughtful, as he reflects to Billboard the depth and diversity of his latest album. By the way, today (Feb. 23) is his birthday.
You have a lot to celebrate: your new album, your new music video, your debut as a lead film actor, your birthday. How are you going to spend it?
I think I’m going to go to a bar with family and friends, quietly. I am happy with the result of the video and the theme of “313.” It is an example of what I want to do more of. I’m going to celebrate that, the video, the album and what’s coming in the future as well.
Your video for “313” is visually stunning. It also features Penelope Cruz.
I always think about the visuals when I write songs, regardless of whether I make videos for them or not. Some people make videos for the song; I think I make music for the video. All the time I’m thinking visually and that’s where I compose the music. In this case I started to make the music and I was writing the ideas, adjusting to the weather conditions. It was quite difficult to shoot in November in Madrid, there is not much light. It snowed, it rained, everything happened during the shoot. That slows you down and the delay costs money. When you’re directing you have to think as a producer, writer, editor, and actor. I’m thinking about everything at the same time.
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I have Penelope Cruz also in the video, and Silvia Cruz singing. We connected super well when I met [Penelope]. I also met her husband Javier [Bardem], and I’m a fan of both of them. I love what they do, they’re tremendous actors and they have a super nice family. I originally said, “I’d like Penelope to be in it.” I talked to her and she said yes. Little by little she connected with the song.
The inclusion of violins in that track and the guitar strings you use in others are beautiful and show a musical diversity along with some boom-bap beats. How do you decide which instruments or sounds to use in your compositions?
The album has songs that are older, and I had other songs that didn’t [end up on] the album because I didn’t feel they are connected to this moment now. When “René” came out four years ago, I was going to release an album at that time and, well, now I’m releasing them. Now I do have songs that feel like they are more relevant today, like “313,” “Artificial inteligente,” “Quiero Ser Baladista” or “Bajo Los Escombros.” All these have cello, double bass, all this musical stuff. It seems to me that it is an album that marks a transition, as it happened with Calle 13’s second album, Residente or Visitante, which marked a moment. After that, everything was different.
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With your second studio album following your acclaimed 2017 debut, how do you feel your music and message has evolved in this latest work?
In this album I feel that the message comes more from my own experience. It is a very personal album, like “313” which is about enjoying this moment. I had a lot of losses last year and the year before. People I love died and everything I’m talking about enjoying all this comes from that experience in the past. And the last record was world music meets rap. This record is the more vulnerable part, like “Rene,” “313” or “Ron on the Floor.” It’s much more open in soul and spirit than before. I’ve always been open, but this time I’m more with the openness.
Upon entering your home, it is impressive to see the amount of Grammys and Latin Grammys you have won. How do you maintain your passion for music after so much success?
I maintain my passion with therapy, trying to do different, creative things that fulfill me. I feel a little tired as an artist, I’ve been doing this for a long time. I want to dedicate myself more to filmmaking, screen writing, experimenting, acting. Now we have a film out at Sundance, which won the Grand Jury prize. It’s called In the Summers. I’m the lead actor, I’m surrounded by spectacular actors and actresses who taught me a lot. I loved it. And the directing part I always love. I think that’s what keeps me motivated and inspired to keep working. It’s moving, doing other things within music as well.
How do you see the current state of Spanish-language rap and its culture, and how does your album contribute to this conversation?
One is a tool, and the other a genre that has rules and a culture that is respected. The discussion that was unleashed based on the list [of essential rappers in Spanish published by Billboard] seemed immature on the part of some of my colleagues. I think rap deserves to evolve as much as possible. I separate rap from hip-hop a lot. For me, [hip-hop] I see it as a genre where the tool of rap is used. That’s what I do.
I’ve never pretended to be of any specific musical genre, nor do I care. Never, since Calle 13, and right now, I’ve never wanted to be pigeonholed. I’m not a singer because I don’t sing, I rap, so I use the tool of rap. My album is for all the little kids who want to be rappers, who can’t sing but want to say things, and through rhyme is an alternative. And I’m doing well; I’m proof that you can do well doing different things, rapping, making music, making it evolve.
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The future of rap, if it continues to be overprotected — is like protecting a child so much that it won’t know what to do when it grows up. So it’s the same with the music genre. You have to feed it new things, get it out there, let it evolve and move. It will continue to evolve, if not, it will stay there and other genres will come along and pass over it. It’s important, so that it doesn’t overtake it, and so that the kids who want to write rap can experience their creativity to the maximum, and take it to the maximum, as high as they can.
Listen to Las Letras Ya No Importan here:
This week, Billboard‘s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — feature fresh new releases from artists such as Goyo, WOS, Wisin and Gabito Ballesteros, and more. The regional Mexican music takeover continues. This time, it’s reggaeton star Wisin who experiments with the gene in “Un Shot,” a collaboration with emerging música mexicana artist Gabito […]
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Wisin, Gabito Ballesteros, “Un Shot” (La Base Music Group/WK)
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Who would’ve ever thought — Wisin tapping into the música Mexicana realm? The Puerto Rican hitmaker has swapped his baseball cap for a cowboy hat for his latest single “Un Shot,” in collaboration with Gabito Ballesteros. Lacing the best of both worlds, the track is a corrido tumbado with hard-hitting urban beats that also meshes Ballestero’s dulcet vocals and Wisin’s raspier tone. “Un Shot” narrates the story of a man who’s drinking his sorrows away after a break up.
But beyond that, it’s an homage to the regional Mexican genre, according to Wisin. “For us urban artists, it was a dream to enter Mexico and receive the support of all Mexicans,” he told Billboard during rehearsals at the 2024 Premio Lo Nuestro. “More than a fusion and a rich song, musically speaking, it is a tribute to the people of Mexico and a way to enter their world and let them know that we respect what they do, respect their music.” — JESSICA ROIZ
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LAGOS & Elena Rose, “Blanco y Negro” (Warner Music Mexico)
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After sharing the best pop-rock song Latin Grammy award with Lasso for the hit “Ojos Marrones” last November, the duo LAGOS — made up of Venezuelan musicians Luis Jiménez and Agustín Zubillaga — joins forces with another compatriot for a new pop anthem: “Blanco y Negro,” with prominent singer-songwriter Elena Rose. The song, which talks about the difficulty of having to say goodbye to a loved one in the midst of complex circumstances, offers an infectious melody and Spanish lyrics sprinkled with English that go straight to the heart. “If it’s not a yes, it’s a no, I don’t want to let you go/ But what do we do if life got in the way?/ If it’s over, put up with it/ I’m looking for another color in this black and white,” they sing in the chorus, creating beautiful harmonies at times. It’s a pop track that can take you to moments that you may not even experienced in your own life. — SIGAL RATNER-ARIAS
Goyo, “Insomnia” (Sony Music Latin)
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The first 20 seconds of Goyo’s “Insomnio” sound like a total rock anthem, with the strumming of an electric guitar. “Everyone wants to attack, but nothing will get me,” Goyo declares. What starts as a rock jam quickly evolves into a hip-hop beat that only speeds up as the song continues. Soon, Goyo’s rapid-fire lyrics take center stage, matching the song’s intensity. While Goyo has been at the forefront of the Latin hip-hop movement, this song is a slight departure from her signature bright and uplifting anthems, edgier with an almost haunting vibe. “Of all the panthers I’m the blackest one,” Goyo raps. “I like to hang out with those that respect me.” — GRISELDA FLORES
WOS & Gustavo Santaolalla, “Melancolía” (DOGUITO Records/DALE PLAY Records)
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Bolstered by the strumming of a charango and festive wind arrangements, “Melancolía” delves into themes of mortality, resilience and melancholy against the riveting backdrop of Andean cumbia. With WOS’ energetic delivery and the powerful sonic architecture of Gustavo Santaolalla — also co-produced by Evlay and Francisco Azorai — the chorus “Será melancolía/ de una vida sin receta” encapsulates the song’s theme of navigating a world without instructions. Ultimately, it explores the human experience of finding light amid darkness. — ISABELA RAYGOZA
Gian Marco & Catalina García, “Tú” (Altafonte/Enjoymusic Studios LLC)
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Peruvian music icon Gian Marco teams up with talented Monsieur Periné vocalist Catalina García on the captivating ballad “Tú.” The acoustic collaboration, which is the fourth track previewing the Peruvian artist’s upcoming album Aún Me Sigo Encontrando, masterfully fuses their voices together in a sublime performance, giving life to a beautiful Andean song — accompanied by the distinctive sound of the charango, a typical instrument of this South American region. “In ‘Tú’ we once again include the colors of Andean folklore. The charango gives it a very special color. It is a song for everyone, for whoever wants to feel it, sing it, and dedicate it,” Gian Marco says in a statement. “I am like this because now you are/ I can love because only you/ You fill me with good things / I give you my whole life” the pair sings in the chorus of the Julio Reyes Copello-produced song. — LUISA CALLE
Sergio George & Jay Wheeler, “La Puerta” (Sony Music Latin)
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Sergio George has released “La Puerta” in collaboration with Jay Wheeler — the first single off of his new album ATACA SERGIO, URBAN SALSA SESSIONS. The innovative song combines catchy salsa melodies with immersive urban rhythms to tell a cautionary story about the consequences of letting pride interfere with love. “I told you to leave when I wanted you to stay/ D–n the pride that screwed me in its web/ Making me believe that you weren’t going to leave, that you wouldn’t dare,” Wheeler chants with his high vocals. — INGRID FAJARDO
Listen to more editor’s Latin recommendations in the playlist below:
Although she couldn’t attend, Karol G was the top winner at Premio Lo Nuestro 2024 with nine awards including artist of the year, followed by Maluma, Carin León, Shakira and Peso Pluma (the last two also absent), with four trophies each. But the highlight of Thursday night’s (Feb. 22) event weren’t the winners themselves, but […]
Some of the biggest names in Latin music gathered on Thursday (Feb. 22) at the Kaseya Center in Miami for the 36th annual Premio Lo Nuestro Awards, many of them donning their best for the occasion. Black was the color of choice for several artists, including Anitta, Emilia, GALE and Gloria Trevi, as well as […]
There may have been more than 20 performances at the 2024 Premio Lo Nuestro on Thursday (Feb. 22), but a handful truly stood out. A show mainly centered on performances, the three special awards honorees, Don Omar, Olga Tañón and Ana Bárbara, gave the best performances of the night. Proving why he was this year’s […]
Peso Pluma canceled his three upcoming Latin American tour stops, including his first appearance at the Viña del Mar International Music Festival slated for March 1.
A spokesperson for the singer confirmed to Billboard that the Mexican star would not play his three scheduled Latin American dates – including stops in Perú and Paraguay — for undisclosed “personal reasons.” In addition to his Viña del Mar date, Pluma was also scheduled to perform on Saturday (Feb. 24) in Asunción, Paraguay and on March 2 in Lima. Paraguay news outlets, including ABC Color, reported the cancelation of his show there, citing “logistic issues.”
However, an official press release sent by Viña del Mar’s press office includes a quote from Peso’s reps which states: “We are sorry to communicate that due to personal reasons, Peso Pluma will not perform in the concerts/festivals slated for Viña del Mar, Lima and Asunción. We hope to return soon to these territories to give them the experience you deserve.”
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In Viña del Mar, Peso Pluma’s headlining slot will be taken over by María Becerra, who was originally scheduled as the second performer of the evening. Becerra is currently on a hot streak, having released a single with Enrique Iglesias, and is prepping for her first stadium show in Argentina. Argentine rapper Trueno will step in to take Becerra’s place as the second act performing on March 1 at the festival.
Peso Pluma’s Latin American tour has been fraught. He was originally scheduled to perform in Paraguay in December of 2023, but that date was later moved to Feb. 24. And, earlier this year, lawmakers in Chile had called for his removal from the Viña del Mar slate of performances, citing concerns over his music “normalizing narcoculture” in the country.
Viña del Mar organizers refused to remove him from the festival. Now, however, Pluma himself has canceled all three shows.
This is not the first time the Mexican singer has canceled performances. Last September, Peso Pluma called off a Tijuana show due to threats from drug cartels. Subsequently, another five shows in Mexico were canceled. Peso Pluma’s upcoming U.S. dates are going on as planned, according to his spokesperson, including performances at Coachella in April.
While Karol G was the big winner of the night; Don Omar, Ana Barbara, and Olga Tañon received special recognitions; and mainstream acts like Kane Brown and Machine Gun Kelly took center stage, Billboard was at the media center and magenta carpet capturing all the scoop you didn’t see on TV at the 2024 Premio Lo Nuestro.
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Below, check out everything you missed from the awards ceremony on Thursday night (Feb. 22).
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Exclusive Collaborations: At the magenta carpet, a few artists revealed to Billboard their next collaborations. Eden Muñoz, for example, spoke about an upcoming bop with Alejandro Sanz, while Michelle Maciel unveiled a heartfelt tune with Yahritza y Su Esencia, slated for April.
Ana Barbara’s Dressing Room: A visit to Ana Barbara’s dressing room found the Mexican diva practicing her pluses ahead of her performance. The limber, athletic Ana Barbara, who was honored for her 30 year trajectory in music, boasted she could execute a full split today better than she ever could in her teens, when she studied ballet. “It’s all practice,” she said with a laugh. The Mexican star performed a six-minute-plus medley with several wardrobe changes.
Kane Brown’s Admiration for Carin Leon: After premiering their new single “The One” at the 2024 Premio Lo Nuestro, Carin León and Kane Brown headed to the media center, where they showed off their bromance. “He’s [like] me but in Latin form,” Brown said of León. “I am in his presence, and he’s the king for me right now. I’m honored to be part of his success. I’ve always been the outcast in country music and I feel that my song with Carin will open more doors.
RBD Leaves Premios: After being in a great mood, talking to the press at the magenta carpet, RBD members Christopher Von Uckermann and Christian Chavez left the venue disappointed. In his Instagram stories, Uckermann explained that they were supposed to have seats at a table on the floor but were given the wrong tickets, which provoked them to leave the awards show and go to dinner instead. After the mishap, it was announced on X that RBD won an award for best pop group.
The Power Couple: As rising Argentine star Emilia prepped her makeup at her trailer backstage, boyfriend Duki hung out close by. “I’m here to provide moral support,” said the Argentine rapper, also a superstar. Emilia is rehearsing for her 10 sold-out arena Movistar shows in Buenos Aires in April and May and her upcoming Velez stadiums shows in October.
Chayanne Announces Tour: After postponing his tour due to the pandemic, Chayanne unveiled at the media center that he is finally hitting the road. “The tour is beginning after five years,” he assures. “We’re kicking off in The United States on August 21 in California, and then going to Latin America and Europe in December. It’s a bit of work but we’re happy.”
Eslabon Armado’s Heartfelt Speech: In the media center, Eslabon Armado, who nabbed the Premio Lo Nuestro award for Mexican song of the year, dedicated their win to their mom who was watching the show from home. “I dedicate this to her because she’s an important part of us,” lead vocalist Pedro Tovar told the press. “People talk about Eslabon but don’t know what’s behind it. My parents are Mexican immigrants who battled for 10, 15 years to give us a future.”
Ana Bárbara stunned in a majestic mariachi baby blue outfit that sparkled gloriously — with a proper charro hat — on Thursday (Feb. 22) for her performance at the 36th annual Premio Lo Nuestro.
Flanked by a mariachi ensemble equipped with trumpets, violins, and a guitarrón, the Mexican superstar sang her heart out, singing back-to-back hits such as “No Es Brujería,” “Lo Busqué” briefly joined by Carin León, “Loca,” and “Me Asusta Pero Me Gusta.”
Impressively, Bárbara changed about four times: a baby pink cowgirl sparkly outfit, a vintage yellow ensemble with fringes, and one piece that sported a bull on her chest with horns. The star worked the dance floor like no other, even doing the splits at one point, along with her troupe of dancers amid the occasional pyrotechnics.
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Following her energetic and visually stunning set, the regional Mexican music icon was awarded with the Premio La Trayectoria (Lifetime Achievement Award) by another legend in the genre, Pepe Aguilar, for her extraordinary trajectory and legacy.
Upon handing her the award, Aguilar said: “Ana, for three decades, you have carried high the traditions of our flag. Your voice became anthems and I am honored to say that you are part of my family…. For me it is an honor to present you with the award.”
Teary-eyed as the crowd chanted her name, Bárbara replied: “You left me speechless, a brother of life, thank you my Pepe. They are just as dear your family to me. In this blessed thank you for having us.”
She continued: “I remember the little girl fighting for her dreams until she became a woman, but above all a mother, the mother who has fought unreachably. Beautiful children for society, and that mother’s heart is the one who receives this blessed award of Premio Lo Nuestro. Thanks to the team, to my husband, to my Gero representing. Thank you for being here, this is for Mexican women, for Mexican music and Mexican women, may they continue to be bigger and stronger!
On Wednesday, Ana Bárbara shared insights with Billboard during rehearsals into her meticulous preparation for the anticipated performance. “We sat down as a team and asked ourselves what we wanted to share in terms of emotions, in terms of rhythm and songs,” she noted. “After thinking about it a lot, they chose one from each era that was written by different composers […] and came up with that cocktail of songs that will take us to different dimensions.”
Celebrating three decades of unparalleled influence in regional Mexican music and Latin pop, Bárbara’s journey is marked by hits a ton of hits that have earned her the title of La Reina Grupera (or the Queen of Grupero Music). Throughout her prolific career, that dates back since the mid ’90s, the San Luis Potosí native has not only captured hearts but also shaped the regional style, earning her a special place in Latin music history.